From a young age, the film stuck in my mind as undyingly sympathetic, and upon my revisiting it recently, I love it more than ever as not only the purest demonstration of Lynch’s ability to thrive within the studio system, but also the directorial attention to his own idiosyncratic way of loving the people of the world around him.

Hard Truths is a masterclass in great writing and acting, and despite a shaky ending, still packs a huge punch.

Rasoulof brings the audience directly into Tehran - this film will most likely be the closest thing we’ll ever have to see into the lives of those who have been oppressed in Iran.

While I’m Still Here is quite simple in terms of filmmaking, it is elevated by its incredible performances, storytelling and authentic portrayal of the time period.

Bridget Jones: Mad About the Boy is a tale bound to resonate with every woman’s experiences.

The Last Showgirl is a reflection on how the end is just the beginning, and the whimsy of girlhood can persevere into womanhood.

Having already won the New Directors Award at the San Sebastián International Film Festival, Baumgartner has proved himself a deeply talented auteur to watch, reminding audiences of the fierce talent that Switzerland has to behold.

Visually, this film feels like a masterclass of instinctive storytelling.

What is art without family? Although providing no concrete answer, Arens does tell us that life is worth creating, and creativity comes from those around us.

Bird is a visceral coming-of-age tale that soars thanks to its naturalistic approach to both performances and on-screen craft. 

if you’re into making a mockery of death, ethereal dancing, classical art allegories, and ‘tacky’ playlists then They Will be Dust is the film for you. 

What stands out the most is the ironically loud message of Julie Keeps Quiet.

Stephen Soderbergh […], makes a return to experimental filmmaking with Presence: a modernised ghost story serving as a deliberate subversion of the genre itself.

Though Queer has all the ingredients of a great drama, its delivery misses the mark. 

If you enjoy thoughtful films and would like to explore a movie that doesn’t follow the “rules”, or give everything to you on a silver platter, this may be the perfect film for you as you escape the hot summer weather with a drink and an ice cream in an air-conditioned theatre.

Reijn suggests that pleasure has an interstitial quality, making it neither good nor evil, only a key part of life.

Nothing in the film really ‘fails’, per se, and if there were a universal, objective checklist of things that make a Good Movie–there isn’t, by the way–The Brutalist meets them all.

We Live In Time is a contemplative and slow-burning exploration of love, time, grief, and the human condition.

Anora is a technical masterpiece - Baker’s approach to casting leads the audience to believe they’re watching a documentary instead of a drama.

In Parthenope (2024), Paolo Sorrentino explores youth, beauty, and the fleeting nature of desire, in an homage to the intoxicating allure of the Mediterranean coast, and living in the shadow of the male gaze.